The withering and flourishing of plants year after year, if these natural growth states were to be engraved on a copper plate, the fleeting life could be left eternally. Renowned international printmaker Zhongliang Zhonglin used printmaking to record the alternation of withering and flourishing of plants on the earth.
Recently, Hong Kong Print Studio curated the exhibition “Between Decay and Glory” by master printmaker Nakabayashi Chushiro, showcasing his artworks for the first time in Hong Kong, presenting the “Displacement – Earth” series to local audiences, and publishing the exhibition catalog “Nakabayashi Chushiro: Between Decay and Glory.”
“Nothing will not rot” is a creative theme of Nakabayashi Tadashi. He was deeply influenced and inspired by the poem “Nothing will not rot” from the poetry collection “Ode to Decay” by Japanese poet Mitsuharu Kaneko, and transformed this concept into the creative theme of the “Transposition – Ground” series. The artist’s footsteps on the ground and the streams he crosses all show different appearances as the seasons change, so in the works of the “Transposition” series, you will see the process of natural landscapes changing with the seasons.
In the early stages of his career, Nakabayashi Tadayoshi used the method of creating prints with corroded copper plates. The texture obtained after the copper plate corroded formed a unique visual language, highlighting the theme of “nothing will not decay.” The main color tones of the work are black and white, without bright color embellishments, instead highlighting a simple primitive image in nature.
While considering the theme of his creation, Zhongliang Zhong continuously improves the materials and enhances the techniques of copperplate printing, developing a unique creative vocabulary. During the creative process, he realized that the nitric acid used to corrode the copperplate was harmful to health, and he himself suffered from it. After much research, he switched to the relatively mild ferric chloride, allowing him to create in a safer environment, making him a pioneer of the eco-friendly printmaking advocated today.
On the other hand, Zhong Linzhong applied the principle of water and oil repulsion in flat stone printing to copper plate printing, creating a unique image transfer method suitable for copperplate printing. In order to express the dark ink color and the varied texture of the etching marks, he used translucent and flexible goose skin paper, combined with his original floating water mounting method, creating a unique goose skin brush. These unique techniques and artistic language can be seen in the exhibits of “Zhong Linzhong: Between Prosperity and Decline.”
The exhibition places the works on the ground covered with white stones, like plants growing in real soil, without lush visual effects. Instead, the audience feels the artist’s contemplation of the alternation of life in this black and white world.
Visitors are welcome to visit the exhibition and see how this master printmaker meticulously engraves eternity on copper plates.
Chung-Lok Chung: Between Prosperity and Decline Exhibition
Date: Now until November 7
Time: 1 pm to 6 pm (Tuesday to Friday)
Location: HKOP Gallery, L8-06, Jockey Club Creative Arts Centre, 30 Pak Tin Street
Learn more: Hong Kong Printmaking Studio
